Since the release of their debut EP – Ugly Pop back in late 2019, the progression of ZAND’s versatility while remaining a staunch advocate for all things weird, bold and beautifully confronting has continued unabated, while they continue to prioritise the expansion of their discography with some of their most impressive audible amalgams in recent memory.
This latest chapter in ZAND’s zany brand of dark tinged guileless poetic mastery, has permitted the immersion of a certain strain of batshit lucidity to its overall production value, which has given rise to a truly intriguing resounding experience; especially via the fast growing adoration for such previously released singles as, the ultimate “come at me…” raging blaster ‘I Spit On Your Grave’ and the dominating exploration of religious trauma on ‘RELIGION’ which features the British DJ/Producer Shurk. However, the most appealing curiosities found amongst the runtime of SEWERSTAR, is that of the four other tracks which further expand upon its complex temperament.
All Input Is Error is a difficult album to pin down. Existing in a world flooded by tech-bro solo projects and a wave of phenomenally talented but creatively neutered musicians, this release by Pomegranate Tiger has risen above the rest to stand proudly at the peak of its contemporaries. Despite being essentially a solo project, the music on offer feels vital, organic, and driven by purpose, rather than as a showcase for Martin Andres‘ undeniably impressive drum and guitar chops. Opening track ‘Devils to Ourselves’ ebbs and flows through such diverse movements that it really shouldn’t work, but the masterful command of pacing and tension makes for a richly satisfying first listen and almost begs for a second.
Dispensing with any vocals in favour of lush layers of guitar and synth, there’s an almost lyrical quality to the arrangements on All Input Is Error. The myriad musical layers mesh together so intricately that the end result is something almost orchestral – verses and choruses become movements, conventional song structures evaporate without dissolving into directionless noodling, and it’s all immaculately produced. It’s a slick sounding record, and unashamedly modern – but it works here, with tangible dynamic shifts in almost every song that make you strain to absorb the lulls and blow you back in your seat with the highs. Riffs slither in and out of the mix, the drums delicately choreograph the songs towards every peak and trough, and there’s just enough electronic glitter to accentuate and elevate the music to much more than your garden variety Djent drudgery.
Josh Middleton et al return with the followup to 2020’s Cycle of Suffering, a clipped down mean hunk of metal that returns to the bands roots. As Middleton puts it, “I was ruthless with myself during the writing process…making sure everything had a place and a purpose to serve the album.”
Not only have Sylosis succeeded in producing a finely honed yet anthemic record, they have done so off the back of a largely non existent touring cycle (due to the time Cycle of Suffering was released). The new record brings back a leaner sound that hearkens back to the early days of the band, a tight yet expressive audible assault that combines chainsaw guitars, masterfully crafted riffs and the best vocals Middleton has ever produced. When he was writing the record Middleton cited listening to classic albums such as Far Beyond Driven, Black Album and Iowa, to inspire the heavy, yet intensely anthemic approach.
Brighton based CLT DRP have been making waves in the UK underground for some time now. Releasing their debut album Without The Eyes in 2020 to an impassioned response, it was branded an instant classic by some for its unique and innovative sound, as well as their lyrical and thematic vulnerability. Their experimentation and growth continued throughout 2021 and 2022 with a handful of singles releases drip fed across a relentless work ethic in the live realm. Having planted their flag in 2023 already with a headline tour and increased presence on festival bills, CLT DRP, alongside production by Alex Gordon (The Cure, Sea Power and Blood Red Shoes) bring us Nothing Clever, Just Feelings.
The album opens with the triple-hitter of lead singles ‘New Boy’, ‘Nothing Clever, Just Feelings’, and ‘I See My Body Through You’ perfectly reflecting the variety on display. ‘New Boy’ kicks things off with a tightened rendition of what could be found on Without The Eyes with some added vocal flourishes and a monstrous breakdown to close the song. Title track ‘Nothing Clever, Just Feelings’ introduces more alt-pop influences, a beat break in the middle of the track invoking feelings of Gossip for a massive four-to-the-floor boogie. ‘I See My Body Through You’, on the other hand, has a harrowing sound. The dark lyrical themes of being subjected to and manipulated by the male gaze perfectly reflected in the uneasy tremolo guitars careening into the destructive instrumental hook in the chorus.
The most noticeable difference with Nothing Clever, Just Feelings is in the quality and breadth of the production, Gordon has brought the best out of the band’s sound so far. Everything you know and love about CLT DRP is still there, Annie Dorrett’s lyrical vulnerability and musings on modern feminism through their lived experiences, Scott Reynolds innovative one man synth engine guitar chops paired with Daphne Koskeridou’s ferocious groove led drumming prowess for an unorthodox instrumental pairing that works oh so well. Everything sounds pristine, the production is damn near immaculate. There is a noticeable increase in bass presence across the board as well, which adds to the textural soundscapes in the best way possible.
Taking the best of Hatebreed and other classic hardcore bands and mixing it with metal and a dash of hip-hop, the latest release from hardcore crew Pain Of Truth, Not Through Blood, is a swift kick to the groin, with beatdowns, vitriolic callout lines and movie samples. Speaking of the mix of old and new, 80s NYC hardcore legends Madball feature on the gut-punching ‘You and Me’ – one of the many, many guest spots on an album that has more features than the Sistine Chapel (but obviously a lot less pretty).
The album starts with a meaty bass rattle and drum groove, as ‘Lifeless on the Ground’ sees the band rev their engines for the coming onslaught. ‘Too Late’ and a few other songs feature an extended Hatebreed-style vocal section that triggers rapid adrenaline production and will no doubt spawn a horde of karate choppers in the pit of the venue (or floor of the local Denny’s, depending on location).
The follow up to 2021’s Eat Your Own, with this EP the band have drilled down to create an emotionally charged and introspective record that is as rich in complexity as it is musically. Here, Delaire The Liar have set out to explore and challenge the idea of self defence, to not only look into these topic areas but to ask the question of whether any defence is too drastic when emotional attachment is also an element in the given circumstance.
Presented through four separate fictional situations, in these tracks there is a clear ambition, drive and a sense of utmost urgency. Single and opener ‘angel number.’ provides a delicate inception to the new era of Delaire and see’s Em Lodge take lead vocal duties. It’s a beautifully balanced song with oft angelic vocals, punchy rhythm and drum patterns. In fact, this track highlights the newfound energy at the crux of Delaire’s nature. Lead single ‘bite trap.’ bears further witness to this and highlights the band’s ability to mix emotion with tenacity, openly wearing vulnerability on their collective sleeves and masquerading it as a strength in confidence and delivery.
